Sponsor / Partner
by Lydia Zander
ein Klangbeispiel...
by Lydia Zander
Formenvielfalt der Schatzobjekte – viele kleine Gefäße in der Südkammer
When the visitor enters the south chamber of the collegiate church of St. Servatii to admire the treasures there, his gaze is first involuntarily drawn to the magnificently gilded book cover of the Evangelist's Book from St. Wiperti, which is richly decorated with stone. His gaze then wanders to the three wooden shrines in the shape of a house. In contrast to these large reliquaries, which present a relatively uniform picture due to their shape and setting, the numerous small boxes and jars in the display cases of the south chamber present the variety of smaller vessels that were used in the Middle Ages to retrieve holy relics. Many such objects are repurposing of a vessel initially used profanely into a reliquary. The function of such containers as reliquaries was clearly defined, while their external shape was not. Therefore, the visitor of the monastery treasury in Quedlinburg gets to see a variety of vessels, which vary greatly in their materiality, form and artistic design.
Among them is a small figure lying on a grate, which at first glance seems to have nothing in common with the other reliquaries. The small statuette is neither particularly artistically designed, nor can one detect on it any possibility of holding relics - at least not at first glance. But precisely because of its unusual form of representation, this small reliquary is remarkable in several respects.
Formenvielfalt der Schatzobjekte – viele kleine Gefäße in der Südkammer
When the visitor enters the south chamber of the collegiate church of St. Servatii to admire the treasures there, his gaze is first involuntarily drawn to the magnificently gilded book cover of the Evangelist's Book from St. Wiperti, which is richly decorated with stone. His gaze then wanders to the three wooden shrines in the shape of a house. In contrast to these large reliquaries, which present a relatively uniform picture due to their shape and setting, the numerous small boxes and jars in the display cases of the south chamber present the variety of smaller vessels that were used in the Middle Ages to retrieve holy relics. Many such objects are repurposing of a vessel initially used profanely into a reliquary. The function of such containers as reliquaries was clearly defined, while their external shape was not. Therefore, the visitor of the monastery treasury in Quedlinburg gets to see a variety of vessels, which vary greatly in their materiality, form and artistic design.
Among them is a small figure lying on a grate, which at first glance seems to have nothing in common with the other reliquaries. The small statuette is neither particularly artistically designed, nor can one detect on it any possibility of holding relics - at least not at first glance. But precisely because of its unusual form of representation, this small reliquary is remarkable in several respects.
Kleine liegende Männergestalt – Viele Details
The reliquary, which is only about 14 cm long and 6.5 cm high, shows a male figure lying on a simply executed grate. The slender and unclothed body is stretched to the tips of the toes, both knees and the abdomen are anatomically marked. The arms rest close to the sides of the torso; the hands are crossed below the abdomen and frame the torso together with the arms. This is characterized by the softly sculpted rib cage with a slightly bulging abdomen. The rib arches are almost graphically shaped by notches. The head is also strikingly shaped, with strong, parallel, engraved furrows dividing the hair of the tonsure. The face is characterized by open eyes, pronounced cheekbones and a clearly protruding chin.
Kleine liegende Männergestalt – Viele Details
The reliquary, which is only about 14 cm long and 6.5 cm high, shows a male figure lying on a simply executed grate. The slender and unclothed body is stretched to the tips of the toes, both knees and the abdomen are anatomically marked. The arms rest close to the sides of the torso; the hands are crossed below the abdomen and frame the torso together with the arms. This is characterized by the softly sculpted rib cage with a slightly bulging abdomen. The rib arches are almost graphically shaped by notches. The head is also strikingly shaped, with strong, parallel, engraved furrows dividing the hair of the tonsure. The face is characterized by open eyes, pronounced cheekbones and a clearly protruding chin.
Der Heilige Laurentius – viele dramatische Zugaben
Overall, one can read a certain calm and serenity in the figure, as it corresponds to the common pictorial representation of Christian martyrs. Through the two elements - the grate and the body lying on it - the scene can be identified as the martyrdom of St. Lawrence.
According to tradition, Laurentius, a native of Spain, was summoned to Rome by Pope Sixtus II (reigned 257-258) and ordained a deacon. Due to an edict by Emperor Valerian (reigned 253-260) ordering the capture and killing of Christian bishops, priests and deacons, the pope and seven members of his clergy, including Laurentius, were martyred in Rome in early August 258. According to tradition, Laurentius was executed on August 10.
The elaboration of his Passion can be grasped from the end of the 4th century. In his treatise De officiis ministrorum, the church father Ambrose of Milan (339-397) not only reports on Laurentius` death, but also embellishes the story dramatically by describing the cruel way of death of burning on an iron grate. Moreover, Laurentius` composure and willingness to sacrifice is emphasized by the words "The roast is now done, turn it over and eat!" which he addresses to the executioners in the face of death.
Not least because of such narratives, St. Lawrence was venerated throughout the Middle Ages as a blood witness following Christ, and as a result was depicted figuratively. The small figure of St. Lawrence lying on the grate in the treasure of the collegiate church can also be understood as such a testimony. However, here the martyrdom of the saint is not only presented pictorially in free-plastic form, but is also made real through the relics recovered inside the figure.
Der Heilige Laurentius – viele dramatische Zugaben
Overall, one can read a certain calm and serenity in the figure, as it corresponds to the common pictorial representation of Christian martyrs. Through the two elements - the grate and the body lying on it - the scene can be identified as the martyrdom of St. Lawrence.
According to tradition, Laurentius, a native of Spain, was summoned to Rome by Pope Sixtus II (reigned 257-258) and ordained a deacon. Due to an edict by Emperor Valerian (reigned 253-260) ordering the capture and killing of Christian bishops, priests and deacons, the pope and seven members of his clergy, including Laurentius, were martyred in Rome in early August 258. According to tradition, Laurentius was executed on August 10.
The elaboration of his Passion can be grasped from the end of the 4th century. In his treatise De officiis ministrorum, the church father Ambrose of Milan (339-397) not only reports on Laurentius` death, but also embellishes the story dramatically by describing the cruel way of death of burning on an iron grate. Moreover, Laurentius` composure and willingness to sacrifice is emphasized by the words "The roast is now done, turn it over and eat!" which he addresses to the executioners in the face of death.
Not least because of such narratives, St. Lawrence was venerated throughout the Middle Ages as a blood witness following Christ, and as a result was depicted figuratively. The small figure of St. Lawrence lying on the grate in the treasure of the collegiate church can also be understood as such a testimony. However, here the martyrdom of the saint is not only presented pictorially in free-plastic form, but is also made real through the relics recovered inside the figure.
Das Laurentius-Reliquar in den neuzeitlichen Quellen – viele offene Fragen
The Laurentius reliquary no longer holds any relics today. However, the fact that it was designed from the beginning to hold relics is revealed by a locking plate mounted on the back of the figure with a hinge. (Image / from below) What kind of relics it was, where they came to Quedlinburg from and when they were removed is unknown.
Das Laurentius-Reliquar in den neuzeitlichen Quellen – viele offene Fragen
The Laurentius reliquary no longer holds any relics today. However, the fact that it was designed from the beginning to hold relics is revealed by a locking plate mounted on the back of the figure with a hinge. (Image / from below) What kind of relics it was, where they came to Quedlinburg from and when they were removed is unknown.
The reliquary is explicitly mentioned in the treasure registers of the monastery treasury, which were written after the Reformation introduced in 1540. Until the middle of the 16th century, it belonged to the treasury of the Benedictine monastery of St. Mary in Quedlinburg, which had been founded in 986 on Münzenberg by Abbess Mathilde (amt. 966-999) for the memorial of her brother Emperor Otto II, who died in 983. After the abolition of the monastery of St. Mary, the entire church treasure of St. Mary, including the Laurentius reliquary, was transferred to the Damenstift St. Servatii, in whose treasury it can still be found today.
The first mention that clearly describes the external form of the Laurentius reliquary is found in the treasure inventory written around the year 1546. The entry reads: Ein silbern sanct Lorencius liegt uff eine rost. However, the nature of the relics recovered in the reliquary is not explained.
A hint is given by Friedrich E. Kettner in his chronicle published in 1710. In addition to the many shrines stored in the cittern, he also mentions "de(n) Rost des Heil. Laurentii". The situation becomes somewhat unclear by the fact that only a few lines further in the text Kettner additionally speaks of "coals with which Laurentius (was) roasted" .
Another description of the reliquary from the year 1828 by Johann H. Fritsch reveals, however, that the reliquary at that time already contained no more relics: "a holy Laurentius, lying on the grate, completely worked of silver. The body of the same is hollow and provided with a flap; indisputably small relics have had place in him".
The reliquary is explicitly mentioned in the treasure registers of the monastery treasury, which were written after the Reformation introduced in 1540. Until the middle of the 16th century, it belonged to the treasury of the Benedictine monastery of St. Mary in Quedlinburg, which had been founded in 986 on Münzenberg by Abbess Mathilde (amt. 966-999) for the memorial of her brother Emperor Otto II, who died in 983. After the abolition of the monastery of St. Mary, the entire church treasure of St. Mary, including the Laurentius reliquary, was transferred to the Damenstift St. Servatii, in whose treasury it can still be found today.
The first mention that clearly describes the external form of the Laurentius reliquary is found in the treasure inventory written around the year 1546. The entry reads: Ein silbern sanct Lorencius liegt uff eine rost. However, the nature of the relics recovered in the reliquary is not explained.
A hint is given by Friedrich E. Kettner in his chronicle published in 1710. In addition to the many shrines stored in the cittern, he also mentions "de(n) Rost des Heil. Laurentii". The situation becomes somewhat unclear by the fact that only a few lines further in the text Kettner additionally speaks of "coals with which Laurentius (was) roasted" .
Another description of the reliquary from the year 1828 by Johann H. Fritsch reveals, however, that the reliquary at that time already contained no more relics: "a holy Laurentius, lying on the grate, completely worked of silver. The body of the same is hollow and provided with a flap; indisputably small relics have had place in him".
Die Rost-Reliquie in dem Schatz des Benediktinerinnenklosters St. Maria – viele (Um)Wege
There are relations to a relic of the grate from the Ottonian founder circle of the Quedlinburg churches. Thus Sigebert of Gembloux reports around 1055 in the Vita Deoderici Mettensis that Otto the Great (amt. 936-973) received from Pope John XII. (amt. 955-963) a staff of the rust of the holy Laurentius had received as a gift. It seems to have come to Magdeburg Cathedral with Otto the Great's founding endowment, where a Laurentius grate reliquary is documented until the 17th century.
Due to the Magdeburg Rost relic and Otto the Great's close relations to Quedlinburg, it is assumed in research that a piece of this relic already came to the Quedlinburg Servatiusstift under Otto the Great in the 960s/70s and was transferred from there by Abbess Mathilde to the newly founded Marian Monastery as an Ottonian memorial site in 986. Perhaps, however, Mathilde only received a piece of the relic associated with Otto the Great directly from Magdeburg in 986. In view of the great importance of the saint, a later acquisition of relics would also be possible, which would have been independent of the Ottonian history.
Thus, for the Laurentius reliquary and the relics formerly recovered in it, no definite conclusions can be drawn from the sources. All ways of the relic to Quedlinburg or to the Marian monastery suggested here are only formulated as possibilities. An investigation of the numerous relic packets, which are kept in the above mentioned boxes of the monastery treasury, could help to clarify this situation. That a careful analysis of the fabrics in which the relic particles are wrapped and of the authentics that provide written information about the recovered contents offers an enormous potential for the investigation of a treasure is shown by the results of the investigation in the Frauenstift in Gandersheim.
Die Rost-Reliquie in dem Schatz des Benediktinerinnenklosters St. Maria – viele (Um)Wege
There are relations to a relic of the grate from the Ottonian founder circle of the Quedlinburg churches. Thus Sigebert of Gembloux reports around 1055 in the Vita Deoderici Mettensis that Otto the Great (amt. 936-973) received from Pope John XII. (amt. 955-963) a staff of the rust of the holy Laurentius had received as a gift. It seems to have come to Magdeburg Cathedral with Otto the Great's founding endowment, where a Laurentius grate reliquary is documented until the 17th century.
Due to the Magdeburg Rost relic and Otto the Great's close relations to Quedlinburg, it is assumed in research that a piece of this relic already came to the Quedlinburg Servatiusstift under Otto the Great in the 960s/70s and was transferred from there by Abbess Mathilde to the newly founded Marian Monastery as an Ottonian memorial site in 986. Perhaps, however, Mathilde only received a piece of the relic associated with Otto the Great directly from Magdeburg in 986. In view of the great importance of the saint, a later acquisition of relics would also be possible, which would have been independent of the Ottonian history.
Thus, for the Laurentius reliquary and the relics formerly recovered in it, no definite conclusions can be drawn from the sources. All ways of the relic to Quedlinburg or to the Marian monastery suggested here are only formulated as possibilities. An investigation of the numerous relic packets, which are kept in the above mentioned boxes of the monastery treasury, could help to clarify this situation. That a careful analysis of the fabrics in which the relic particles are wrapped and of the authentics that provide written information about the recovered contents offers an enormous potential for the investigation of a treasure is shown by the results of the investigation in the Frauenstift in Gandersheim.
Das Laurentius-Reliquiar – viele Verluste
The literature often refers to an artistically undemanding appearance of the Laurentius reliquary. In fact, due to its small size and somewhat "worn" condition, the reliquary looks like an object devoid of any preciousness compared to other treasures. No sparkle of the stones or enamels, no shine of the gilded metal surface, no accentuation of certain areas by reused set pieces from older objects is detectable. In addition to such material efforts, the Laurentius reliquary also lacks design elements that allow the viewer to clearly understand the object as a reliquary. An inscription attached to the reliquary or a visibly presented relic can be used for this purpose.
However, on closer inspection of the Laurentius reliquary, some details reveal that a great deal of attention was paid to anatomical details in the elaboration of the figure. In addition, remnants of gilding can be seen in many places. Because these parts are irregularly distributed over the entire body, one can assume that the entire statuette was gilded. In addition, the design of the grate, which currently appears to be incomplete, suggests that it was mounted on a pedestal together with the reclining figure. As a tectonic marker, the pedestal belongs to the classical construction of a reliquary. This would have achieved a presentation character of the container appropriate to the relic. In addition, this would have provided the opportunity to display the lambent flames below the grate. The practical handling of the reliquary - for example, placing it on an altar - would also be easier.
Das Laurentius-Reliquiar – viele Verluste
The literature often refers to an artistically undemanding appearance of the Laurentius reliquary. In fact, due to its small size and somewhat "worn" condition, the reliquary looks like an object devoid of any preciousness compared to other treasures. No sparkle of the stones or enamels, no shine of the gilded metal surface, no accentuation of certain areas by reused set pieces from older objects is detectable. In addition to such material efforts, the Laurentius reliquary also lacks design elements that allow the viewer to clearly understand the object as a reliquary. An inscription attached to the reliquary or a visibly presented relic can be used for this purpose.
However, on closer inspection of the Laurentius reliquary, some details reveal that a great deal of attention was paid to anatomical details in the elaboration of the figure. In addition, remnants of gilding can be seen in many places. Because these parts are irregularly distributed over the entire body, one can assume that the entire statuette was gilded. In addition, the design of the grate, which currently appears to be incomplete, suggests that it was mounted on a pedestal together with the reclining figure. As a tectonic marker, the pedestal belongs to the classical construction of a reliquary. This would have achieved a presentation character of the container appropriate to the relic. In addition, this would have provided the opportunity to display the lambent flames below the grate. The practical handling of the reliquary - for example, placing it on an altar - would also be easier.
Das Laurenius-Reliquiar - neue künstlerische Strategien
Due to its condition today, obviously marked by many losses, the absence of the relic and the difficult source situation, the Laurentius Reliquary cannot be dated precisely. Researchers assume that it was made in the first half of the 13th century. This proposal is mainly based on the comparisons with other objects made in that period.
Moreover, this dating can be justified by the historical situation of the two Quedlinburg churches since the turn of the 13th century. Many treasures preserved in the collegiate church show in their design language a clear link back to the glorious founding period and the imperial benefactors of the Ottonians. Around 1230/50, for example, a small rock crystal vessel in the shape of a fish was reworked into a reliquary and inscribed as a donation by Emperor Otto III. (r. 983/996-1002). It is therefore very likely that the recasting of a rust reliquary closely associated with the Ottonians demonstrates similar efforts at historicity and is thus to be interpreted as a decided recourse to the founding tradition of the Marinkloster.
Especially through its scenic form, the reliquary figuratively presents the rust relic venerated similarly to the Passion relics of Christ. The visualization of the saint's jellyfish gives the viewer the opportunity to inwardly empathize with the events and his suffering. It is precisely this sculptural realization of the scene coupled with a reliquary concealed inside the figure that can be grasped as an unusual reliquary form in the first half of the 13th century, which is why the reliquary from the Quedlinburg convent of St. Mary rightly deserves a greater role in the history of the development of reliquaries, as it is considered one of the earliest objects of this reliquary type. The decisive factor for the choice of the scenic form was the nature of the relic recovered in it, since due to its direct participation in the event of the martyrdom, it could be made visible quasi through the form with a scenically arguing language.
Das Laurenius-Reliquiar - neue künstlerische Strategien
Due to its condition today, obviously marked by many losses, the absence of the relic and the difficult source situation, the Laurentius Reliquary cannot be dated precisely. Researchers assume that it was made in the first half of the 13th century. This proposal is mainly based on the comparisons with other objects made in that period.
Moreover, this dating can be justified by the historical situation of the two Quedlinburg churches since the turn of the 13th century. Many treasures preserved in the collegiate church show in their design language a clear link back to the glorious founding period and the imperial benefactors of the Ottonians. Around 1230/50, for example, a small rock crystal vessel in the shape of a fish was reworked into a reliquary and inscribed as a donation by Emperor Otto III. (r. 983/996-1002). It is therefore very likely that the recasting of a rust reliquary closely associated with the Ottonians demonstrates similar efforts at historicity and is thus to be interpreted as a decided recourse to the founding tradition of the Marinkloster.
Especially through its scenic form, the reliquary figuratively presents the rust relic venerated similarly to the Passion relics of Christ. The visualization of the saint's jellyfish gives the viewer the opportunity to inwardly empathize with the events and his suffering. It is precisely this sculptural realization of the scene coupled with a reliquary concealed inside the figure that can be grasped as an unusual reliquary form in the first half of the 13th century, which is why the reliquary from the Quedlinburg convent of St. Mary rightly deserves a greater role in the history of the development of reliquaries, as it is considered one of the earliest objects of this reliquary type. The decisive factor for the choice of the scenic form was the nature of the relic recovered in it, since due to its direct participation in the event of the martyrdom, it could be made visible quasi through the form with a scenically arguing language.
